1. I - 24'08''
2. II - 31'32''
Ernesto Rodrigues - Viola
Hui-Chun Lin - Cello
Yoshimoto Yumiko - Electric Guitar & Daxophone
Shuichi Chino - Zither
Harri Sjöström - Sopranino & Soprano Saxophones
Yoshimoto Yumiko - Electric Guitar & Daxophone
Shuichi Chino - Zither
Harri Sjöström - Sopranino & Soprano Saxophones
Recorded May 2018, Berlin
Reviews
[…] There are two others recorded in 2018, and so some of this is very recent material: Poiesis (recorded live in Berlin in May) features a quintet in which Rodrigues is joined by Hui-Chun Lin (cello), Yoshimoto Yumiko (electric guitar, daxophone), Shuichi Chino (zither) & Harri Sjöström (sopranino & soprano saxes). Lin had appeared on Creative Sources previously with the quintet album Discoveries (recorded by Klaus Kürvers, and discussed here last October), on which Davide Piersanti on trombone is set against a quartet of low strings, but hadn't previously recorded with Rodrigues himself. (Discoveries is an often appealing album, even employing some lush & almost jazzy harmonies to distinguish it from the sometimes analogous horn-featured Lisbon String Trio albums, or indeed Polyorchard's Sextet | Quintet as discussed here in July, but it does also drag a bit at times in its explorations.) Sjöström has also appeared here, in October, with Hyvinkää, an album focusing on varying colors amid motivic continuity, and weaves a rather sophisticated high reed through the largely string-based proceedings on Poiesis — again providing continuity against e.g. frequent pizzicato otherwise. The other two performers were not familiar to me, although note the daxophone again, and indeed the zither. The interaction begins assertively, and takes on something of a classical character at times, yielding to exploring a variety of novel timbral combinations. (And the daxophone sometimes mimics brass?) It's only in the somewhat longer second track — and each of the two is around a half hour — that one gets a distinctly Asian feel, particularly around the zither, yielding to almost a generally romantic Easternized vibe that surprisingly becomes even more assertive. (One probably wouldn't guess that it's a Rodrigues album by this point.) Again, there are various intriguing combos from this largely unknown ensemble, but the interaction drags at times as well. Todd McComb’s Jazz Thoughts
[…] There are two others recorded in 2018, and so some of this is very recent material: Poiesis (recorded live in Berlin in May) features a quintet in which Rodrigues is joined by Hui-Chun Lin (cello), Yoshimoto Yumiko (electric guitar, daxophone), Shuichi Chino (zither) & Harri Sjöström (sopranino & soprano saxes). Lin had appeared on Creative Sources previously with the quintet album Discoveries (recorded by Klaus Kürvers, and discussed here last October), on which Davide Piersanti on trombone is set against a quartet of low strings, but hadn't previously recorded with Rodrigues himself. (Discoveries is an often appealing album, even employing some lush & almost jazzy harmonies to distinguish it from the sometimes analogous horn-featured Lisbon String Trio albums, or indeed Polyorchard's Sextet | Quintet as discussed here in July, but it does also drag a bit at times in its explorations.) Sjöström has also appeared here, in October, with Hyvinkää, an album focusing on varying colors amid motivic continuity, and weaves a rather sophisticated high reed through the largely string-based proceedings on Poiesis — again providing continuity against e.g. frequent pizzicato otherwise. The other two performers were not familiar to me, although note the daxophone again, and indeed the zither. The interaction begins assertively, and takes on something of a classical character at times, yielding to exploring a variety of novel timbral combinations. (And the daxophone sometimes mimics brass?) It's only in the somewhat longer second track — and each of the two is around a half hour — that one gets a distinctly Asian feel, particularly around the zither, yielding to almost a generally romantic Easternized vibe that surprisingly becomes even more assertive. (One probably wouldn't guess that it's a Rodrigues album by this point.) Again, there are various intriguing combos from this largely unknown ensemble, but the interaction drags at times as well. Todd McComb’s Jazz Thoughts
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